On F. Scott Fitzgerald's birthday, a repost from 2012:In this previously-unpublished Fitzgerald story, a saleswoman wants a cigarette, and perhaps encounters something more profound.

"Smoking meant a lot to her sometimes. She worked very hard and it had some ability to rest and relax her psychologically. She was a widow and she had no close relatives to write to in the evenings, and more than one moving picture a week hurt her eyes, so smoking had come to be an important punctuation mark in the long sentence of a day on the road."

After a mutiny aboard a spaceship, three men are cast off on a mysterious planet with dangerous inhabitants.

"Now they were driven along a ravine in which ran a rapid stream. The ravine grew deeper; and sheer cliffs, increasing in height to a hundred feet or more, hemmed it in on each side. Rounding a sharp turn, the men saw before them a broad space of level shore, and above the shore a cliff that was lined with several rows of cavern-mouths and little steps cut in the stone. Dozens of pygmies, of the same type as their captors, were gathered before the entrances of the lower caves. An animated chattering arose among them at sight of the cavalcade and its prisoners."

A ranch wife's conversation with a passing stranger is rife with unspoken implications.

"'Well, I can only tell you what it feels like. It's when you're picking off the buds you don't want. Everything goes right down into your fingertips. You watch your fingers work. They do it themselves. You can feel how it is. They pick and pick the buds. They never make a mistake. They're with the plant. Do you see? Your fingers and the plant. You can feel that, right up your arm. They know. They never make a mistake. You can feel it. When you're like that you can't do anything wrong. Do you see that? Can you understand that?' She was kneeling on the ground looking up at him. Her breast swelled passionately."

A man enters an ill-fated relationship with his friend's ex-lover.

"They sat in a small, downstairs living-room with an upright piano against the wall and above the piano a portrait of her. She was wearing a dark green sweater in the picture and looking disinterestedly into her lap. The sweater had a broad neck, showing her prominent shoulder bones. She was wearing the same sweater that evening. That night they didn’t do anything but sit around and talk. There were some scores on the piano and Morgan wondered if she played. Her hair was fair and lustreless and drawn loosely back from her face. She smoked all of the time. He wondered what her relations with Sears were. She had evidently known him for a long time."

A black man on the run for murder seeks a hiding place in this brief yet controversial piece from a stunning Harlem Renaissance voice.

"Annie Poole cut him off. 'Dis ain't no time foh all dat kin' o' fiddle-de-roll. Ah does mah duty as Ah sees et 'shout no thanks from you. Ef de Lawd had gib you a white face 'stead o' dat dere black one, Ah shuah would turn you out. Now hush yo' mouf an' git yo'se'f in. An' don' git movin' and scrunchin' undah dose covahs and git yo'se'f kotched in mah house.'"